CABARET at the Kit Kat Club (2024) Opening Night Critics' Reviews — Page 10

butlervyer said: "Did Rebecca Frecknall ever push you in the streets MemorableUsername? The animus has been very pointed and persistent now.

Of course. That's the only possible reason anyone could criticize her work and choices in this production. Just like the only reason anyone could praise her choices (or repost the same articles about all the Black men in Pennsylvania in the 1930s...) is if they're related to her or an investor, right?

An understudy who may never go on for a role, especially when it's Cliff, clearly the focus would be on finding the most able ensemble member who could also play the part if ever called upon, but I don't tend to read the worst of intentions or lack of care in people actions everytime. "

I wouldn't have made the comment if the same things weren't being posted again, calling for the same response. Yes, hiring the best understudy possible makes sense. But if the race of the actor playing the character isn't a factor in casting that best understudy possible, then any justification for why Cliff has to be specifically Black and not just a POC in this production is irrelevant, because he clearly doesn't have to be.

I have played both Cliff and Ernst, and there is nothing in the text that suggests Ernst is attracted to Cliff. However, I distinctly remember in the Mendes production Denis O’Hare adding a sexual subtext to lines like “We make a large whoopee,” etc. It made zero sense, but O’Hare is such a great actor that it somehow worked. When was that? 1998? Strange what we remember about plays we see.

Anyway, this is not the first professional production of Cabaret to have Cliff played by a black actor. I know of at least one other where it was done a few years ago in Chicago. If you’re going to have one of the principals played by POC, Cliff can be an interesting choice since he is the American and the stand-in for the audience.

I’m pretty sure there have been black Emcees and Sallys in major regional productions as well, although not often. Ultimately, you really can’t have all white principal casts anymore, so even when it doesn’t make sense historically, you have to find a way to have a diversify it.

Thanks, Jordan. On my way in to see it, so just bought a ticket to see Teeth again instead. Life goes on.

I did, terrific job

Jordan Catalano said: "Matinee canceled today due to “cast illness”."

Oh no! Hope everything is alright.

Oof. Hope that was funnier in your head than in execution :-/

I’m seeing it tonight, maybe I’ll get an exciting debut. Just hopes it’s not Eddie or Bebe out 😅

https://www.facebook.com/share/X8BdtdzgfgT6ht46/?mibextid=K35XfP



Not sure if this is relevant. Paige Smallwood,1 of 2 Sally understudies, has a broken foot.

Updated On: 4/24/24 at 02:00 PM

Anyone hear anything if the evening show is still scheduled to go ahead?

Frenchie and Rosie covers are on. No other callouts

I find it interesting that they've been much more revealing in their Broadway marketing vs. West End. We've seen tons of pictures, clips, a CBS Sunday Morning feature, tons of behind the scenes stuff, etc. Nowadays, West End shows a lot more. But, back when the show started, they were VERY secretive. I was just looking at their Instagrams and from when they announced the show through the end of Eddie and Jessie's run, there were 84 Instagram posts. This production is only a few weeks into performances and they're already at 144 posts.

jkcohen626 said: "I find it interesting that they've been much more revealing in their Broadway marketing vs. West End. We've seen tons of pictures, clips, a CBS Sunday Morning feature, tons of behind the scenes stuff, etc."

I think they realized keeping everything a secret is kind of pointless because we already know what the London production looks like. Although the phone stickers have cut down drastically on social media posts of the interior.

Yeah, as Wick3 said, the run for the original cast was sold out before the first preview, except for the seats they'd held back to release later at hiked prices, in a theater half the size of the one in New York.